Collections : [University of Michigan William L. Clements Library]

The Clements Library's collection of individual friendship and autograph albums (the ones that are not part of larger bodies of family papers) dates primarily from the second half of the 19th century. The creators of these albums sought out friends, family, schoolmates, public persons, and others to write signatures, sentiments, poetry, extracts from books and serials, personal sentiments, and more. Contributions often emphasize ties of friendship, exhortations to seek love, happiness, or Christian religious salvation. Most of the volumes in this collection were compiled in the Northeast United States and areas in the Midwest, with urban and rural areas represented. The greater number of the albums were kept by young women and the bulk of the signers were also female. Contributors occasionally illustrated pages with calligraphic designs, trompe l'oeil visiting cards, animals, flowers, and themes that had particular significance to their relationship with the keeper of the album. The volumes in this collection are largely decorative blank books adorned with tooled covers, sometimes containing interspersed engravings of religious, literary, historical, and landscape themes. Some include pasted-in photographs, die-cuts, or stickers.

The Clements Library's collection of individual friendship and autograph albums (the ones that are not part of larger bodies of family papers) dates primarily from the second half of the 19th century. The creators of these albums sought out friends, family, schoolmates, public persons, and others to write signatures, sentiments, poetry, extracts from books and serials, personal sentiments, and more. Contributions often emphasize ties of friendship, exhortations to seek love, happiness, or Christian religious salvation. Most of the volumes in this collection were compiled in the Northeast United States and areas in the Midwest, with urban and rural areas represented. The greater number of the albums were kept by young women and the bulk of the signers were also female. At least one volume was kept by an African American man, Lewis G. Mosebay. Contributors occasionally illustrated pages with calligraphic designs, trompe l'oeil visiting cards, animals, flowers, and themes that had particular significance to their relationship with the keeper of the album. The volumes in this collection are largely decorative blank books adorned with tooled covers, sometimes containing interspersed engravings of religious, literary, historical, and landscape themes. Some include pasted-in photographs, die-cuts, or stickers.

[NB: This is a TEMPORARY finding aid for an IN-PROCESS collection; some restrictions apply]. The Handy Papers document the lives and professional activities of four generations of the Handy Family of Virginia, Maryland, and Delaware. The collection largely revolves around James Henry Handy (1789-1832), Isaac William Ker Handy (1815-1878), Moses Purnell Handy (1847-1898), Sarah Matthews Handy (1845-1933), Frederick Algernon Graham Handy (1842-1912), Egbert G. Handy (1858-1938), Rozelle Purnell Handy (1871-1920), Sarah V. C. Handy (1876-1963), and H. Jamison Handy "Jam Handy" (1886-1983). The Handy family were largely educated, politically active, literary southerners, who were a part of many of the social and intellectual currents of especially the mid- and late-19th century. The papers offer resources for study of the Civil War, particularly its effect on Virginia civilians and southern prisoners of war at Fort Delaware; the history of southern families; late nineteenth-century American politics; Presbyterian history; late nineteenth-century newspaper journalism; the World's Columbian Exposition in Chicago, 1892-93; and genealogy. In its current, temporary housing, the papers include 30 boxes of correspondence, 27 boxes of family papers and topics files, six boxes of World's Columbian Exposition papers; eight boxes of photographs, plus separately housed images; four boxes of newspapers and newspaper clippings; 12 boxes of Jam Handy and Jam Handy Organization papers; 60 boxes of scrapbooks; and six boxes of books and serials (plus many loose books and other printed items).

[NB: This is a TEMPORARY finding aid for an IN-PROCESS collection. This current scope note pertains almost entirely to Handy family papers acquisitions of the 1980s (an estimated 60-65 boxes of the total 153 boxes). Among the in-process materials are 60 boxes of scrapbooks, largely kept by Rozelle P. Handy and Sarah V. C. Handy].

The Handy Papers document the lives and professional activities of four generations of the Handy Family of Virginia, Maryland, and Delaware. The collection largely revolves around James Henry Handy (1789-1832), Isaac William Ker Handy (1815-1878), Moses Purnell Handy (1847-1898), Sarah Matthews Handy (1845-1933), Frederick Algernon Graham Handy (1842-1912), Egbert G. Handy (1858-1938), Rozelle Purnell Handy (1871-1920), Sarah V. C. Handy (1876-1963), and H. Jamison Handy "Jam Handy" (1886-1983). The Handy family were largely educated, politically active, literary southerners, who were a part of many of the social and intellectual currents of especially the mid- and late-19th century. The papers offer resources for study of the Civil War, particularly its effect on Virginia civilians and southern prisoners of war at Fort Delaware; the history of southern families; late nineteenth-century American politics; Presbyterian history; late nineteenth-century newspaper journalism; the World's Columbian Exposition in Chicago, 1892-93; and genealogy.

In its current, temporary housing (see the box listing in this finding aid), the papers include 50 boxes of correspondence, 26 boxes of family papers and topics files, six boxes of World's Columbian Exposition papers; eight boxes of photographs, plus separately housed cased images; four boxes of newspapers and newspaper clippings; 12 boxes of Jam Handy and Jam Handy Organization papers; 60 boxes of scrapbooks; and six boxes of books and serials (plus many loose books and other printed items).

The following is a former description by Curator of Manuscripts Galen Wilson, for the Handy Family Papers acquisitions of the 1980s (50-60 boxes of materials):

"Isaac Handy's fondness for history led him to the belief that he lived at an important moment in the life of the nation, and every wrinkle of the sectional crisis of the 1850s and 60s seemed to confirm. His correspondence and diaries from the eve of the war through its conclusion are a reflection of a well-educated southerner's reaction to the events unfolding about him and provide insight into the development of his political sympathies. Even after his arrest in July 1863 and his incarceration at Fort Delaware, Handy remained conscious of being part of "history in the making," not only continuing his twenty-five-year habit of keeping a diary, but in planning for a future book on Fort Delaware, soliciting memoirs of war service from his fellow prisoners. Handy saved these manuscripts, plus the correspondence he received while in prison (much of it from Confederate civilians), pasting them into two large scrapbooks. These have been disbound and the material cataloged item-by-item and interfiled chronologically in the collection's correspondence. Drafts and copies of the book which Handy wrote about his confinement, United States Bonds, are present in the collection.

Among the many individual areas of American Civil War interest are Isaac W. K. Handy's description of the battle between the ironclads Monitor and Merrimac, and the journal which Moses Handy kept during his service in the Confederate army in 1865. The soldiers' reminiscences collected by Isaac Handy at Fort Delaware include several exceptional accounts, including biographical and autobiographical sketches of M. Jeff Thompson, the mayor of St. Joseph, Missouri, turned "Swamp Rat" militia commander. Thompson played a major role during the summer of 1861 in defending Missouri's slave system from John C. Frémont's emancipation proclamation.

Other Civil War war-related materials include Isaac Handy's 1861 sermon on "Our National Sins" and fast-day sermons from the same year. The reminiscences of a myriad of former Confederate officers are scattered throughout Handy's correspondence of the late 1870s, all intended to be used in a history of the war planned by the Philadelphia Times. Also present is some documentation of Frederick A. G. Handy's father-in-law, Edwin Festus Cowherd, a Confederate soldier.

While the Handy collection provides thorough documentation of life among the eastern Handys, it also contains a significant body of correspondence from the westward sojourn of Isaac and Mary Jane Handy from 1844 to 1848. Isaac and his wife wrote over 100 letters from Missouri, in which they described the powerful ideological lure of the west, their family's adjustment to new surroundings, and the social and political climate of the old southwest. An index to these letters, prepared by Isaac Handy, is present, along with an original binding. Isaac's diary for the years spent in Missouri provides a valuable point of comparison for the letters.

Political and social commentary flows throughout most of the collection, from Jesse Higgins' campaign for reform of the federal legal and judicial systems, 1805-1806, through the fin de siècle political interests and involvements of Moses Handy.

The political impact of Reconstruction plays a major role in the collection, particularly in the letters of Congressman Samuel Jackson Randall (1828-1890) of Pennsylvania. The election of 1896 is well documented and the collection includes much correspondence with the Republican President-maker Mark Hanna. For his efforts on behalf of the Republican Party in this election, Moses Handy had hoped to net a foreign consulate through Hannah but was disappointed. Handy's transition from Confederate soldier to Republican politico is subtly documented and provides an interesting case study in political opportunism.

The Handy Family Papers are an important resource for the history of the Presbyterian Church during the 19th century. The 2nd Presbyterian Church in Washington, D.C., was a major focus of James Henry Handy's life, and the early history of this congregation is well documented in correspondence dating from the 1820s. Rev. Daniel Baker was the first pastor of the congregation, and although Baker's tenure was controversial, James remained a close friend of Baker's for the rest of their lives. The collection thus contains items concerning Baker and his relationship with the 2nd Church, and several letters written by him after he left to assume a pastorate in Savannah, Georgia.

Isaac Handy's vocation as a Presbyterian minister and his avocation as an historical researcher merge in this collection, deepening the documentation of the church. Perhaps spurred by being asked to contribute some biographical sketches to William B. Sprague's Annals of the American Pulpit, Handy sought out primary documents relating to the colonial Presbyterian clergy and congregations. Aspects of his own career in the church is documented through a scattered series of letters from former parishioners--many of which were received during his imprisonment at Fort Delaware--and in letters written by Isaac to his sons. A thick file of Isaac's sermons is present, several of which were published. Among these sermons is "The Terrible Doings of God" (23:31), which concerns the Yellow Fever Epidemic near Portsmouth, Virginia, in 1855. He delivered this eulogy at a Baptist church for members of several different Portsmouth churches. Handy earned acclaim during the crisis by staying to help the victims rather than fleeing to safer ground.

Isaac Handy's literary flair was inherited by Frederick and Moses, and both pursued careers in newspapers. Moses' career is more thoroughly documented than Frederick's, and much of the correspondence written between 1869 and 1890 concerns Moses' efforts in the newspaper business. There are several folders of general newspaper correspondence dating from 1865 to 1897, an entire box of unsorted clippings by and about the Handys, and boxes of mounted clippings of Moses, Sarah, and Rozelle Handy's published writings. Journalistic endeavors of other family members are also present.

One of Moses Handy's greatest claims to fame was his role as chair of Department O (Publicity and Promotion) for the Columbian Exposition in Chicago, 1893. His involvement with the Exposition is documented in correspondence, reports, financial papers, brochures, photographs, and memorabilia. The advertising campaign begun in 1890 has been cited as the prototype of modern publicity strategies, and the Handy Papers offer an unparalleled view into the inner workings of the key department. The collection also contains information about the San Francisco Mid-Winter Exposition (1893), a sort of subsidiary event to the main Chicago attraction, and the general correspondence for 1891-93 contains some references to the World's Fair.

Isaac Handy's lifelong ambition was to publish "The Annals and Memorials of the Handys and their Kindred." Beginning in the 1850s, he gathered genealogical data on all descendants of "Samuel Handy, the Progenitor," an Englishman who emigrated to Maryland to farm tobacco. Three drafts of this work, in increasing thickness, were completed in 1857, 1865, and the 1870s. Isaac was prepared to publish the work in the 1870s and had an advertising flier printed, but when subscriptions did not meet expectations and Handy died in 1878, the project foundered. The manuscript then passed to Moses Handy, whose own intentions for publishing the book never reached fruition, possibly due to his untimely death at the age of fifty. In 1904, Isaac's youngest surviving son, Egbert, acquired the manuscript from Moses's widow, Sarah Matthews Handy, but his publication plans did not gather momentum until 1932.

With a great deal of vigor, Egbert attempted to update the manuscript, now sixty years out of date, and had a new advertising circular printed. Again, death removed the Annals' main advocate. The manuscript remained in the possession of Egbert's widow, Minerva Spencer Handy, and in the 1940s she gave it to Frederick A. G. Handy's widow, Lelia Cowherd Handy, then living in Arlington, Virginia. Before her death in 1949, Leila entrusted the material to her granddaughter Mildred Ritchie. The Clements Library acquired the manuscript from Mrs. Ritchie along with other family papers. A century and a third after Isaac began the project, the Annals were published by the Clements Library in 1992. The Handy Family Papers contain various drafts of the manuscript, plus many notes and letters concerning its publication."

[NB: This is a TEMPORARY finding aid for an IN-PROCESS collection. This current scope note pertains almost entirely to Handy family papers acquisitions of the 1980s (an estimated 60-65 boxes of the total 153 boxes). Among the in-process materials are 60 boxes of scrapbooks, largely kept by Rozelle P. Handy and Sarah V. C. Handy].

This scrapbook includes clipped articles and images, original drawings, and written entries within the pages of a 1850s blankbook of receipts. Contextual clues indicate that individual(s) added to the volume at later dates, pasting clippings over used pages, and internal evidence suggests at least one compiler may have lived in Maine. Original drawings primarily center on themes of violent encounters between scouts and Native Americans, romantic entanglements, and conflict. Sometimes illustrated newspaper and magazine clippings are pasted throughout the volume, many relating to themes of marriage, love, women, family, and memory. Several pages were used to copy a portion of an undated letter, an essay, and a manuscript poem.

The individual(s) who created this scrapbook pasted items, drew scenes, and wrote entries within the pages of a 1850s blankbook of receipts, seemingly created for use by a Boston shipping or exportation company. Contextual clues indicate that persons added to the volume at later dates, pasting clippings over used pages, and internal evidence suggests at least one compiler may have lived in Maine.

Penmanship exercises and short notes are written on many of the pages, either where no additional content has been added or where clippings have been pasted on top. The names James Randall Reeves and Orren Cunningham appear on some of these pages, as well as place names of Bennington and Windsor, Maine, possibly indicating one of the early owners of the volume. The handwriting appears to match the text that accompanies the original illustrations.

Original drawings made using pencil, colored pencil, and ink can be found throughout the volume, sometimes with dates added, ranging from 1863 to 1869. Remnants of clippings that had previously been affixed to the page indicate that an owner of the volume must have pasted items into the scrapbook at a later date than the drawings were originally produced. Many of the images depict scenes of conflict or relate to two fictional characters, Hezekiah and Ezekiel. The two men appear to be scouts, and the images depict their encounters with villains, Native Americans, and a love interest, Flora. Violence, unrequited love, and emotional disappointment are central themes, and the concept of a "gas of hope" that spontaneously streams from Ezekial's head appears several times when the character experiences excitement or distress.

• Page 1: "Back Villains for your lives, says Peter, or you shall all die at the break of day by Cats." At the base of the page: "Indifference.". The illustration shows a man carrying a revolver in one hand while a woman holds his other arm. She extends an arm out behind her towards two men following them, one with a darker complexion and a machete raised over his head and the other pointing a musket at them.
• Page 3: "As the Villains again leaped against the door, an arm was thrust through the broken hand, and a voice cried out." The illustration is a nighttime scene with three men with a battering ram striking at a closed door of a house, where a man points a pistol out of an opening at them.
• Page 6: "Rescued from fire..." (the text is partially obscured by remnants of a newspaper clipping). The drawing depicts a firefighter descending a ladder from second story that is ablaze, holding a woman in his arm.
• Page 8: "...burly scout. A Sioux Chief captured" (the text is largely obscured by affixed clippings). The drawing shows a mustachioed man in military garb, a fur hat, and a cape who is holding a knife covered in blood. He is grabbing the arm of a Native American man who has dropped his knife and who is bleeding from a wound in his arm. Two ink drawings of insects (a beetle and a dragonfly) are pasted on the page.
• Page 10: "Perrilous adventure of Hezekiah the Scout, under cover of the darkness at the haunted schoolhouse." The image is a nighttime scene of a small building with a man climbing through a window. Another man runs behind him saying, "stop villain stop."
• Page 12: "The fate of Hezekiahs beaver is inevitable" and "Wonderful adventure of the Scout, Hezekiah cries out with a loud voice Ezekiel come here, help me bind these knaves." The drawing is of a bare-chested man in a green hat, holding two Native American men by the throat, one in each hand. A pencil marking indicates the year 1865.
• Page 16: "...The robber of the Rhine" (at least one additional word is partially obscured). The drawing depicts a balding man smoking a long pipe, wearing a musket on his back, and holding a bloody sword in front of him. A pencil marking indicates the year 1866.
• Page 18: "Death of Heavy [?]" and "Desperate adventure of Hezekiah, Slatt down in Kintuck..." The image is of a shirtless man (with a green hat) facing off with a Native American man, the former wielding his musket overhead and the latter his tomahawk each to strike the other. They stand over three dead or dying Native American men.
• Page 21: "Ezekial, & he knows who, on sunday eve, at the schoolhouse coming from meeting, by cats." The drawing depicts a man kneeling beside a seated woman who is holding a handkerchief or piece of cloth. One of his hands is on her shoulder, the other holds one of her hands. Another man lies face down in the corner.
• Page 24: "Weep stricken one your sorrows will have an end." Text at the bottom of the page is largely obscured by clippings, but "Ezekiel" and "Flora" are both visible. The drawing shows an upset man with mussed hair and arms akimbo, holding a handkerchief. One of the clippings over the man's head is "FIRST LOVE." A pencil marking indicates the year 1866.
• Page 26: "A streak of hope for Ezekial." The drawing shows a smiling man wearing a yellow hat that is releasing a stream of green gas, labelled "gas of hope."
• Page 27: "weep on str[i]cken one thy sorrows shall never end." The image depicts two men standing before a small grave with headstone reading "Dead Hope." Ezekiel, wearing a yellow hat from which "gas" spews, points down to the grave, saying, "What Have You Buried There Hezekiah." Hezekiah, barefoot, wearing a green hat and ragged pants, and holding a shovel, replies, "A. Dead Hope. I. Thought. She. Loved Me. But. She Did. Not Oh. Dear. What. Shall. I. Do Boo Hoo Boo Hoo." The illustration is marked in ink: "Drawn by Ezekiel himself in 1867."
• Page 30: "N.E. View of the royal oak of Shag Town, May 2d 1867." The drawing is a landscape featuring a large barren tree with a wooden plank/case/contraption and musket leaning against it. A sun smiles in the sky.
• Page 32: "View of Mud Pond, & Poccihog Hill, Sketched on the eastern rock, At half past three O'Clock." A landscape drawing shows a lake and a heavily wooded hillside. A smiling sun is in the sky and a person rows a boat on the lake.
• Page 36: Portrait of a bearded man in military uniform, with blue and gold epaulettes.
• Page 38: "A sorrowful meeting of the two scouts, Dialogue. Ezekial - 'Oh the letter, the letter, she loves me not.' Hezekiah - "Weep not Bro Scout, I pronounce it a forgery, by cats." The image is of two men wearing hats, muskets, and powder horns. One holds a slain animal in his hand, and the other cries while holding a letter and gas spews from his hat.
• Page 40: "Tallow plenty, or courting by candle-light, Stebbins telling Flora about his farm, out west." The drawing is an interior scene of a room with wallpaper, curtains, chairs, and a table. A man and woman embrace while holding candles, and additional candles are located on the table, chair, and floor.
• Page 44: Text at the top of the page is partially obscured but reads in part, "Bachelor . . . the famous scout," while additional text at the bottom reads "The inocent subject of my contempt by day, and my dreams by night." The drawing is a portrait of a man in a rumpled green hat, shirt, and suspenders, likely representing Hezekiah. A printed, pasted-on caption reads "THE GHOST OF OAK GROVE."
• Page 46: The letters "P.L.L." appear at the top of the page, and the note "Signed in the first degree, P.L.L." appears beside a highly stereotyped pencil portrait of an African American man.
• Page 48: Portrait of a bearded man.
• Page 50: Portrait of a man with moustache and goatee, with the text, "Art. Miller, California" written beside him.
• Page 52: "Poor old maniac, but once powerful scout, now dwindled away with sorrow for the lost Flora." The image shows Ezekial holding a wooden cane and a large "grief bag" on his back that has a vent spewing gas. On the bag is a printed, pasted-on caption reading "THE HAND OF FATE". He is wearing ragged pants and his hat spews green gas. Hezekiah wears his green hat and proffers something to Ezekial, saying, "Poor old fellow you must be hungry. Can I do anything for you, you seem to be weary of life. I guess I take you to a place of safety at once." Ezekial: "Answers with great vigor. I'm not hungry it is grief that gnaws like hunger at my very vitals. No never. You are the man that ruined me, if I was a smart man as I [...] I would kill you."
• Page 54: "Ezekial goes home with -- gets near home when the old scout jumps through the gateway inclosed in a sheet, See the consequences, of his rush act." The image shows a man draped in a white sheet standing in the doorway of a round stone structure. A well-dressed man and woman run apart from each other, leaving their hats on the ground. On the opposite page, several notes are written: "The identical hat worn by Hezekiah at the siege of Tattletown"; "The hat worn by Hezekiah at the destruction of Troy"; and "The sad effects of first love."
• Page 56: A man wearing a feathered hat and cape brandishes a sword while standing with one foot on the back of a slain man who has dropped his sword. He continues to fight with a man in a robe with a cross on it. A woman sits on the ground with a hand to her head. A printed, pasted-on caption reads "WHO''S TO WIN." A pencil marking indicates the year 1869.
• Page 58: "The burly scout, the stabbed scout, & Frankrifle, outscouted, by the bank scout at the old barn . . . gets valuable information concerning the conspiracy, by cats." The image shows four men in a hayloft, one, likely Ezekial, wears a yellow hat that is expelling gas. A printed, pasted-on caption reads "HUNTED DOWN."
• Page 60: "In dishabille," and at the bottom of the page: "Stebbins - 'Get out of my bed, Oh get out of my bed!" The drawing is of a woman wearing a shift and draped with a blanket reclining in a bed. A man in a nightshirt is seated on floor gesticulating at her.
• Page 62: "Who's Been here?" The drawing shows a woman looking out the window, while a man in a nightshirt, carrying the rest of his clothes, flees from the open door. A nicely dressed man with cane approaches him. A printed, pasted-on caption reads "TAUGHT BY EXPERIENCE."
• Page 64: "My idea of domestic bliss. or High life in the Lowlands." Text at the bottom of the page reads, "Stebbins about played out. 20 years hence." The drawing shows a man holding a hatchet in one hand, while wearing ragged clothing and a green hat spewing gas. A woman hits him over the head with a broom, while many small children are strewn about the floor and pull on the adults. A pencil marking indicates the year 1864.
• Page 66: A flying lizard/dragon with a shouting sun.
• Page 90: A checkerboard.

Newspaper and magazine clippings are pasted throughout the volume. While content varies, many relate to themes of marriage, love, women, family, and memory. Poetry is heavily represented. A fair number of the clippings include jokes, humor, and wordplay. Several are directions for household maintenance or preventing pests, and a number of others relate to scientific topics.

In addition to articles and written text, the compiler also pasted in clipped illustrations from newspapers and magazines. Several feature Union Army officers, most of whom appear to have a connection to New York State. Landscapes of New York City and the Amazon River are also included, as well as several satirical illustrations and animals.

A number of the printed images relate to women, including Tennie C. Claflin, Victoria C. Woodhull, and Elizabeth R. Tilton. Rev. Henry Ward Beecher's image appears twice in the volume, including once where he is placed facing Elizabeth R. Tilton and a chain connecting the figures by the nose has been added in by pen (page 14). A short poem written in ink appears below it, reading:

Henry W. B., so buoyant with glee,

And Lizzie R. T., so innocent and free,

As happy as bees in the sweet apple trees

Raised a slight (?) breeze and made the whole world sneeze!

Several pages appear to have been used to copy a portion of an undated letter, which referenced a trip from Portland to Augusta, Maine, on the Maine Central Railroad, attitudes towards funerals, the teaching profession, arguments, and placebos (beginning page 57). Another passage appears to be an essay entitled, "to old Bachelors & maids" (pages 86-88) and a manuscript poem is written on the back inside cover that seems related to scouts and Native Americans.

The J. B. Cooke Collection consists of 29 Roosevelt Hospital (New York City) Ambulance Department tickets signed by Cooke, the ambulance surgeon, one Roosevelt Hospital Visit Slip, one blank pre-printed card to take case notes for patients, and one scrapbook piece containing four newspaper clippings about J. B. Cooke and the Utica Medical Club. The ambulance tickets record where the ambulance call originated, the location of the emergency, the time, and patient information, including name, age, nativity, marital status, occupation, residence, and diagnosis. Cooke filled out these sections, along with sections for patient history and calculations for the duration of the ambulance trip.

The J. B. Cooke Collection consists of 29 Roosevelt Hospital Ambulance Department tickets signed by Cooke, the ambulance surgeon, one Roosevelt Hospital Visit Slip, one blank pre-printed card to take case notes for patients, and one scrapbook piece containing four newspaper clippings about J. B. Cooke and the Utica Medical Club. The ambulance tickets record where the ambulance call originated, the location of the emergency, the time, and patient information, including name, age, nativity, marital status, occupation, residence, and diagnosis. Cooke filled out these sections, along with sections for patient history and calculations for the duration of the ambulance trip.

The nativity of patients includes American, German, and Irish, with one patient identified as African American. Accidental injuries predominate, such as those sustained by falling off a streetcar, being kicked by a horse, falling on a spike, or being run over by car wheels. Other conditions were caused by violent encounters, such as being clubbed by police officers or stabbed, while others were medical in nature, including a uterine prolapse, abdominal pain, and an epileptic fit. Some cases indicate when inebriation was a factor, and several suggest workplace hazards, such as when a butcher experienced traumatic amputation of his fingers, a carpenter fell off a scaffold, or a domestic worker fell out a window while hanging laundry.

This combination sketchbook and scrapbook belonged to J. F. Beyer, an immigrant from Germany who moved to Worcester, Massachusetts, sometime in the 19th century. The volume contains pencil sketches, pasted-in newspaper and other types of clippings, autographs and friendship-album-like entries in German (Kurrentschrift), French, and English.

This combination sketchbook and scrapbook belonged to J. F. Beyer, an immigrant from Germany who moved to Worcester, Massachusetts, sometime in the 19th century. The volume contains pencil sketches, pasted-in newspaper and other types of clippings, autographs and friendship-album like entries in German (Kurrentschrift), French, and English.

The newspaper clippings appear to be mostly from Worcester, Massachusetts, and contain a variety of topics ranging from social events to poetry, local news, and more. A clipping dated December 18, 1882, celebrates the Turn Verein Society's new hall, and another undated clipping describes a hot air balloon basket being woven by J. F. Byer for an upcoming marriage.

Much of the artwork within the volume is signed, and many signatures also feature the word "Basel." Of the two Stevengraph woven pieces, one is of the Pope (dated 1846) and one features a woman with the name "Halle.Hoffmann.Basel" at the bottom. Many of the sketches are of houses with trees or flowers nearby, and some are more pastoral in nature.

This combination sketchbook and scrapbook belonged to J. F. Beyer, an immigrant from Germany who moved to Worcester, Massachusetts, sometime in the 19th century. The volume contains pencil sketches, pasted-in newspaper and other types of clippings, autographs and friendship-album-like entries in German (Kurrentschrift), French, and English.

This combination sketchbook and scrapbook belonged to J. F. Beyer, an immigrant from Germany who moved to Worcester, Massachusetts, sometime in the 19th century. The volume contains pencil sketches, pasted-in newspaper and other types of clippings, autographs and friendship-album like entries in German (Kurrentschrift), French, and English.

The newspaper clippings appear to be mostly from Worcester, Massachusetts, and contain a variety of topics ranging from social events to poetry, local news, and more. A clipping dated December 18, 1882, celebrates the Turn Verein Society's new hall, and another undated clipping describes a hot air balloon basket being woven by J. F. Byer for an upcoming marriage.

Much of the artwork within the volume is signed, and many signatures also feature the word "Basel." Of the two Stevengraph woven pieces, one is of the Pope (dated 1846) and one features a woman with the name "Halle.Hoffmann.Basel" at the bottom. Many of the sketches are of houses with trees or flowers nearby, and some are more pastoral in nature.

John Berry, a farmer in Howard Township, Knox County, Ohio, maintained this account book from 1854 to 1875. It documents expenses related to farming operations, such as wages for hired men and women performing various tasks with crops, livestock, and the production of wool. It includes accounts for the purchase and sale of sheep, cattle, and hogs, and the breeding and insurance of horses. The accounts also relate to wool, flour, corn, oats, hay, and other farm goods, as well as various farm implements. The volume notes the erection of various buildings and infrastructure like barns and bridges, work done on the schoolhouse, and it includes documentation of exchanges with others for goods like shoes, clothing, fabric, and other items for farm and personal use. Berry documented several years' total sales and expenditures and overall assessments of his stock. He wrote a register of births for his seven children between 1850 to 1867 and listed various Biblical passages, titled "A few text of scripture for the Abolitionist to read." Recipes for keeping cider sweet and treating dysentery are also included.

Seven items are laid into the front of the volume, including an advertising brochure for the Ohio Farmers Insurance Company, an obituary for James M. Berry (1852-1923), two blank Knox County Bank checks, one Howard Township 1871 tax receipt, and two slips of paper, one listing the deaths of Lucy Berry, James Berry, and Sarah Harding.

John Berry, a farmer in Howard Township, Knox County, Ohio, maintained this account book from 1854 to 1875. It documents expenses related to farming operations, such as wages for hired men and women performing various tasks with crops, livestock, and the production of wool. It includes accounts for the purchase and sale of sheep, cattle, and hogs, and the breeding and insurance of horses. The accounts also relate to wool, flour, corn, oats, hay, and other farm goods, as well as various farm implements. The volume notes the erection of various buildings and infrastructure like barns and bridges, work done on the schoolhouse, and it includes documentation of exchanges with others for goods like shoes, clothing, fabric, and other items for farm and personal use. Berry documented several years' total sales and expenditures and overall assessments of his stock. He wrote a register of births for his seven children between 1850 to 1867 and listed various Biblical passages, titled "A few text of scripture for the Abolitionist to read." Recipes for keeping cider sweet and treating dysentery are also included.

Seven items are laid into the front of the volume, including an advertising brochure for the Ohio Farmers Insurance Company, an obituary for James M. Berry (1852-1923), two blank Knox County Bank checks, one Howard Township 1871 tax receipt, and two slips of paper, one listing the deaths of Lucy Berry, James Berry, and Sarah Harding.

The Laidley family papers consist of letters written by members of the Laidley family regarding family news, politics, and life in the military. The collection also contains fiction written by William Sydney Laidley, a travel journal, legal documents, photographs, and genealogical materials.

The Laidley family papers are comprised of letters, a travel diary, miscellaneous documents, creative writing, genealogical materials, business cards, newspaper clippings, and photographs.

Correspondence: The bulk of the letters are from Theodore T.S. Laidley to his father, John Osborne Laidley, between 1838 and 1861. The collection also contains letters from Theodore to his brother William Sydney Laidley, and letters from various friends and family members, including Amacetta Laidley and George W. Summers, to John Osborne Laidley.

Theodore's early letters describe his life at the United States Military Academy at West Point. After graduating from West Point, Theodore spent time at the Watervliet Arsenal near Troy, New York. He wrote to his father monthly about military life, his enjoyment of New York State, and his health. Theodore took an interest in politics, and was very much concerned about bills, policies, and appointments that he felt were detrimental to the future of the army.

Letters from Theodore contain news about his family, his wife's family, and their health. He also wrote to his father with advice about his siblings. Fewer letters exist from the other Laidley children, and Theodore refers to them being infrequent correspondents. Amacetta did write her father from Washington, recounting politicians and writers she had met. Amacetta's husband, George W. Summers, wrote to John Osborne Laidley about legal matters and his future in politics. Laidley's friends and children wrote frequently about faith and church matters. Following John Osborne Laidley's death in 1863, the bulk of the letters are from Theodore Laidley to his brother, William Sydney Laidley.

Diary: The travel diary is the record of an unidentified family member's journey from Charleston, West Virginia, to Cincinnati, Ohio, in 1879. It contains several pencil drawings including sketches of bridges, a ship, the Chesapeake Bay, and a chandelier.

Documents: The miscellaneous documents consist of receipts, a bill of sale, and a deed.

Creative Writing: The creative writing series contains two poems and a short novel of the Civil War written by William Sydney Laidley.

Personal and Genealogical Materials: The personal and genealogical materials consist of Thomas Laidley's report cards, including some from West Point, a large family tree, information about individual family members, and records of births, deaths, and marriages.

Business Cards: The business card series is made up of the business cards of Theodore Laidley and William Sydney Laidley. William Sydney Laidley's business card features a pencil drawing of an infant on the reverse.

Newspaper Clippings: The collection includes two newspaper clippings. The first is a report of the sinking of the steamer Sultan and the death of Sarah Laidley Poage. The second is a report of a trip to Europe by a member of the Laidley family.

Photographs: The photographs series is composed of three photographs, including two of William Sydney Laidley and one of an unidentified member of the Laidley family.

Laura L. Earl's friendship album includes material dating from 1860 to 1932, documenting her relationships across several geographic regions. Entries include poems, signatures, quotations, brief comments, and drawings of calling cards with signatures added. The volume includes engraved illustrations, several entries that feature artistic elements, and miscellaneous tipped in materials.

Laura L. Earl's friendship album includes material dating from 1860 to 1932, documenting her relationships across several geographic regions. Entries include poems, signatures, quotations, brief comments, and drawings of calling cards with signatures added. Additional visual materials include a negative image of a leaf made by splattering ink, a watercolor painting of flowers, and a calligraphic rendering of Laura Earl's name. Places linked to writers include states such as Wisconsin, Iowa, Minnesota, Colorado, Missouri, New York, Illinois, Ohio, Kansas, Nebraska, Massachusetts, and Oklahoma. Later entries refer to Laura by her married name, Laura E. Nethers.

Laura L. Earl pasted or tipped in various materials to the volume, including printed poems, calling cards, newspaper clippings, leaves, a scrap of fabric, an advertising blotter, a printed set of four images with Biblical passages, a notice for Mrs. D. E. Denman's funeral services in 1928, and Laura (Earl) Nethers' newspaper obituary from 1932. One calling card is from Laura L. Earl, and includes a photograph of her affixed to it. One clipped newspaper or magazine image shows two white men seated at a table with an African American man serving beverages.

"Pensez A Moi" is printed on the front cover. "Laura L. Earl" is stamped on the front flyleaf, as well as a pencil inscription, "1860. A Christmas Gift from my father, Covington, Ky."

• Modesty and Vanity
• Pensez A Moi
• The Departure
• Fatal Signal
• The Balsille. Eng'd for this Work
• Little Rogues in Trouble